| Project/Area Number |
15520210
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
ヨーロッパ語系文学
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| Research Institution | Ochanomizu University (2004-2006)
Toyoko Gakuen Women's College (2003) |
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Principal Investigator |
TOTANI Yoko Ochanomizu University, Faculty of Letters and Education, Associate Professor, 文教育学部, 助教授 (30261093)
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| Project Period (FY) |
2003 – 2006
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| Project Status |
Completed (Fiscal Year 2006)
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| Budget Amount *help |
¥3,100,000 (Direct Cost: ¥3,100,000)
Fiscal Year 2006: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2005: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2004: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2003: ¥1,000,000 (Direct Cost: ¥1,000,000)
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| Keywords | American Theatre / Performance Studies / Performing Arts / 9.11 Terrorist Attack / Representation of Body / Representation / Globalization / パフォーマンス研究 / 同時多発テロ事件 / 表象文化論 / パフォーマンスアート / 文化研究 / 国際演劇祭 / 文化政策 / インターカルチュラリズム / ハイブリディティ / ポリティクス / サイボーグ |
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| Research Abstract |
This project was conceived and developed out of the research which I conducted with the support from Grant-in-Aid for Scientific Research in the previous years, Cultural Politics, Arts Management, and Public Policies Theory and Practice of 20th Century American Performing Arts, which also focused on the aspect of politics and culture in the American performing arts.
The purpose of this research was to examine both theory and practice of American performing arts in the age of globalization especially after the 9111 terrorist attack of World Trade Center in New York City.
In conducting this research, three topics were set to be covered:
1.Representation of the body in relation to the violence of terrorism in the field of American theatre.
2.Production and Reception of globalized culture in the American performing arts
3.The Global and the Local Centralization and Decentralization of Culture and the actual practice.
During the first stages of the research, I have reexamined the concept of interculturalism and the notion of hybridity in the field of theatre as well as culture in general and how they had been shifted after the 9/11. I also had the opportunity to respond to two papers which dealt with violence in relation to gender and were given at the annual conference of COE program at my own university. This gave me a chance to rethink of violence in terms of representation. The response paper I gave is included in the bound report of this research.
I also collected information about practices of collaborative works and productions of various artists who are intending international and/or intercultural collaboration and interviewed those artists (directors, playwrights, artistic directors and managers) to find out about the actual collaborative process. I am now in the process of preparing a paper to present at an annual conference of the Association of Comparative Drama which will be held in the spring of 2008.
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